Let's get this out of the way: I can't find anything about this tune or the rest of the new Kathleen Edwards album, Voyageur, that suggests Bon Iver's Justin Vernon had a hand in them, save the liner note that reads: "Produced by Justin Vernon and Kathleen Edwards." Nothing here is particularly wintry or muted. Nothing jangles or shifts quickly from soft to loud and back again. Instead, Voyageur is a pretty straightforward pop record — in fact, the most unabashedly straightforward pop record Vernon has attached his name to. Far more importantly, it's also the best batch of songs Edwards has committed her name to. Largely focused on divorce and disappointment, what could have sounded like therapy for her and a chore for us instead sounds surprisingly fun for both her and us. The best tracks here, particularly "Change the Sheets," are at once energetic and a bit stinging (as in the conclusion, "Here is the truth, I swear it used to be fun/Go ahead and run, run, run, run"). How similar or different this record would have sounded without Vernon is something we'll never know. But you've got to think that what seems like a light touch — or at least not an obvious touch — was the smart move. This song grooves and glistens with confidence and catchiness, ensuring that we'll remember it far longer than those liners notes.

1 of 11

Loretta Lynn, "Portland, Oregon" (Produced by Jack White)

Because this isn't about the loud, Elephant-like guitars; it's about how those guitars pull Ms. Lynn out of her comfort zone and into a jaw-dropping, thoroughly modern place. Jack White saw — and fully realized — her newfound potential.

2 of 11

D'Angelo, "Chicken Grease" (Executive Produced by Questlove)

Because while the actual production credits have never been clear, The Roots's funky drummer has his fingerprints all over this. His snare swings loosely and gloriously.

3 of 11

The Traveling Wilburys, "Tweeter and the Monkey Man" (Produced by Jeff Lynne)

Because only in the greatest supergroup of all time could Electric Light Orchestra's Jeff Lynne be the fifth of five. He held his own co-producing the sessions, however, and with this one, clearly coaxed out a memorable Dylan performance during a stretch when "memorable Dylan performance" was a less-than-commonly-used phrase.

4 of 11

Elvis Costello, "Alison" (Produced by Nick Lowe)

Because it's so clear how, in the wrong hands, "Alison" could have gotten awfully schmaltzy. The so-called Jesus of Cool played it, yes, cool. And, as it wound up, absolutely timeless.

5 of 11

Live, "I Alone" (Produced by Jerry Harrison)

Because, speaking of cool, there's always been something pretty cool about a Talking Head having produced something this unapologetically uncool. It's also a secret karaoke killer. Try it and thank me later.

6 of 11

Snoop Dogg, "Gin and Juice" (Produced by Dr. Dre)

Because "later on that day, Dr. Dre came through with a gang of Tanqueray and a fatass J." A defining and enduring hip-hop moment.

7 of 11

Nada Surf, "Popular" (Produced by Ric Ocasek)

Because everything Ocasek learned producing Weezer's Blue Album is crammed into these three-and-a-half minutes. And because it's amazing that Nada Surf survived it.

8 of 11

Warren Zevon, "Lawyers, Guns, and Money" (Produced by Jackson Browne)

Because while Browne was behind the board for many of Zevon's greatest hits, this one has always seemed most prescient.

9 of 11

Mavis Staples, "Melody Cool" (Produced by Prince)

Because while it ain't quite "The Weight," Mavis and Prince make a supremely funky duo. And because Ms. Mavis's throat-clearing growl around the 2:10 mark may be one of the best expectorant moments ever committed to tape.

10 of 11

Hacienda, "She's Got a Hold on Me" (Produced by Dan Auerbach)

Because The Black Keys's Dan Auerbach is, alas, not Justin Vernon. There's zero question of who produced this scuzzy piece of nostalgic brilliance.

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